Pierre Alexandre Tremblay - La Rage - Empreintes Digitales - DVD
This work is composed for drum-kit in a processing and interactive system environment (MAX-MSP), which uses patches (called oiseaux, soft-pinball, hard-pinball, king, hysteric, techno, etc.) which in turn; blend with, flatten, are completely different, are barely audible, make strong background, complement or complicate a sound (like simulating a bell being softly played by the drum) or over-power the drum contribution by direction of the score (played by trigger and software listening to a particular source like a cymbal or snare, for different parts of the composition), sometimes starting bass or string accompaniment. This activity can be distinctly distinguished in Boules, where the start and stop of MSP processing can clearly be heard. Expect instrument confusion, telltale signs of electroacoustic musical work. Play a whole movement, A and D are exciting, while B and C stretch time.

A The Dice Are Cast
1 Ringing in the ears. Materializing, patter triggered.
2 Quiet, ambient, metal blocks, ohm voices, to loud and glitch, into classical sustain, and drop to woodwind/string melody tease. Metallic layering, to heavy distorto-bass, with twinkling dew drops of electronics.
3 Cymbal Scrape. Nice
4 A tap along with your palms on your thighs, or on a wooden desk.
5 Minute development. (More) choral voice shots. Ascending. Densifying.
6 Would be unbelievable 20 years ago. Remarkable synthesis and interplay. Flies and mosquitos.
7 Tuning up orchestral colorings. Practice session and room sound tones to a hovering level.
8 Metallic vibrations, to treble-lic bass modulations. Cymbal fill, and rippling surface tears with flowing air. Dreamy indie bass inclusions. Popcorn and a storm both brew.
9 A development on the final sounds of eight. Frogs drenched in reverb and clunkified. Bass drum, stand up and stomp. Into the movement’s first groove. Plateau, drum and electronics.
10 Ring modulator?

B Burnt (segues)
11 Dinnertime brass bell.
12 Snare and occasional tom, free rhythm. Ride cymbal and bass drum patter, jazzy, like mid song solo work. High hat and repeat. Harmonica-esque effect. Well paced.
13 Electronic zonkyness. Diffused string triads to the effect that we are having lots of fun. A gradual inclusion of multiple sounds, and a boiling think static.
14 A muted kettle whistle effect played like relieving the steam in a pot of broccoli.
15 Drumming with world texture. Then glitch redux.
Four second gap

C Incubation
16 Like a computer rhythm sampler.
17 Electronic howls.
18 Wind on repeat keeping time, and soft rhythm keeping.
19 Broken drum and bass rhythms at 1/4th the tempo.
20 World industrial paradiddles. Fades out, then wash cycle and dry cycle with creaky metal inside.
21 Nearly mute. Shuffling. Distant drumming is quite faint, sounds like a field recording. Run off from gutters, just a steady drizzle.
22 Only slightly more prominent. Steady 1,3 beat in 4/4.
23 Running nails up and down nylon guitar strings. Off beat cookyness.
24 Loud pool table, and a loud hum drone. Ringing of various kinds, into resonating of various amplitudes.
25 Introduction to a techno-house track.

D La Rage
26 Dulcimer with wood blocks, where’s Harry Partch? One thunder-cloud makes a rumbling appearance.
27 A hard fusion jazz groove, with on beat ruptures and restarts.
28 1 in 3/3 tom triggering of a panoply of effects, gets frenzied and frazzling.
29 All at once all at you movement. Only 30% hard on the ear.
30 A few bars and relax. Fin.
Danny Rubio Eveningly Infinitely Wipes